jazzyvee

How was your set? For us there seemed to be a common consensus that the sound was terrible both front and on-stage. Apparently they had one guy doing both the on-stage monitors and front of house from two different locations and had to run backwards and forwards between the two places. Not an ideal situation. During line check, the sound guy came over asking if something was wrong with my bass because there was no sound through the desk. I played a few notes which came through the cab and pointed out that I was plugged through his DI box and maybe there should be a cable out of the back of it to the desk. We played well though.

It was marked up as a custom shop bass but I don't know enough about them to know if the listing is correct. Here it is. http://www.guitarguitar.co.uk/bass_guitars_detail.asp?stock=13072511573931 I actually don't have any desire to buy a fender bass. I am just trying to learn about different basses and how they sound to play so having the opportunity to try some top end Fender and a high end fender type alternative I took it. That said, the only one I've tried that i felt something with was the Victor Bailey model. Jazzyvee

I was in guitar guitar yesterday afternoon and decided to check out some basses, and decided to have another go at a Jazz bass so went for the custom shop model and for contrast there was a new John Suhr jazz bass there so I thought i'd give that a try too. 20 minutes later I still wasn't taken by either of them. For some reason I couldn't get a sound to die for from either of them they just sounded ok. Maybe there is some truth in the idea that a lot of the sound is in the fingers as other people I hear playing jazz basses live sound really good. Jazzyvee

Captain Bassman, you have a good catch there. I don't gig that often with my series basses and that is mainly because most of the gigs I do, don't require the full spectrum of the bass and the backlines I get, usually Ashdown, frustrate me because they stifle the sound of the bass. So basically I prefer to take it when I do my Jazz funk gigs and I'm able take my own bass rig or where I know in advance the back line is going to be something I like. There is lots of fun to be had working with the filters. I've spent many years listening to stanley clarke and his alembics so he is my tonal reference and trying to get some of his tones on my basses has helped me understand which knob to turn and which way, in order to get the tones I now need for the music I play. If I can give you a tip I use which helped me with the CVQ it's this. I conceptually divide the travel on the CVQ into 4 points one being off and 4 being fully on, then between that find two more positions roughly equi-distant apart. Then when you find a filter position you like, turn the Q to each of these 4 points in turn, and listen to what is happening to the sound and refine the sound around each point with filter and Q. I found this was useful because you get to understand what is going on at 4 easily repeatable points and eventually getting to specific tones quickly is often a matter of setting the Q at one of the points, adjusting the filter then fine tuning the Q or filter as needed. Another thing to remember is that the effect of the Q is applied more to the attack of the note and less to the sustained note. Jazzyvee

He is still and always has been a great inspiration for me as a musician. Hearing him on bass made me want to become a musician. Now I'm in a professional reggae band and we do a couple of wailers tracks and always jam on his bass lines at sound check which gives me the chance to capture some of his sound live. I've met him a few times and talked bass with him. He's a great bloke a man of few words but inspiring nonetheless.

[attachment=166853:IMG_4695.jpg]Did a cracking gig at the Jam House in brum last night with my NotStrictlyJazz Quartet. We did covers of jazz-funk tracks by Stanley Clarke, Victor Bailey, Marcus Miller, Jeff Lorber Fusion, Grover Washington Jr etc. and it went down a storm.

[color=#000000][font=Verdana, Arial, Helvetica][size=1]We played a cracking gig at the Jam house in Birmingham last night with my band. Loads of Jazz funk from guys like Stanley Clarke, Victor Bailey, Marcus Miller, Jeff Lorber, Grover Washington Jr. I hope we get a call for another there. [/size][/font][/color]

[quote name='MothBox' timestamp='1405329711' post='2500728'] [url="http://www.hotoneaudio.com/nanolegacy/thunderbass.html"]http://www.hotoneaud...hunderbass.html[/url] Saw these in a local shop recently, tiny, but not convinced they'd really get a decent volume from them. [/quote] True. I just checked out some you tube video's and they sound fine but sure i doubt if it would give much on stage volume above the guitar and drums. However it's probably cheap enough to keep as a backup in your bag and would probably sound fine if you used it with mic'd up cab.

I played through a Mark bass, and a few ampegs over the past year and so I'd have one in a heartbeat if it was practical but: a) Even if I was strong enough to move one around, it won't fit in my car. most of the gigs we do with my main band have a back line provided so occasionally a decent 8x10 or 6x10 is provided.

So you have schedule as to what the lineup is and what is going on there as I can't find anything on line.

I know alembic owners on their forum speak highly of these basses and if you get some alembic activators for those Aria basses you will get a much closer alembic sound. http://alembic.stores.yahoo.net/axybtacpic.html They also come up fairly regularly on ebay. Jazzyvee

I'm playing with Musical Youth at the Simmerdown Festival in Handsworth Park Birmingham on 20/07/2014 https://www.facebook.com/events/1458204427757165/ https://www.facebook.com/musicalyouthofficial

I'm playing with Musical Youth at the Bedford Riverside Festival on 19/07/2014 https://www.facebook.com/events/541260775993319/ https://www.facebook.com/musicalyouthofficial

[font=Verdana, Arial, Helvetica][size=2][color=#000000]I recently contacted the UK Musicians Union about the implications of CITES on travelling abroad with instruments which include exotic woods that may have restrictions on their movements. I was curious because there is a possibility of some international festival dates for me next year and I want to be sure I can travel to and from here with my bass. [/color][/size][/font] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Here was the response taken directly from the email I got in response. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]================================================================== [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Do you have Ivory or Brazilian Rosewood, Abalone or other materials built into your instrument? [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Are you travelling overseas with your instrument? [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]If so, there are certain precautions you should take to protect your instrument, especially if travelling to the USA . [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The Convention on International Trade in Endangered Species (CITES) [[/size][/font][/color][url="http://www.cites.org/"]http://www.cites.org/[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] has for some time now been concerned with the illegal trade of endangered flora and fauna such as Brazilian Rosewood, African Ivory, Mother of Pearl and Abalone to name but a few. These species have for many years been used in instrument manufacture. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The US Fish and Wildlife Service (USFWS) have introduced regulations that allow for instruments with certain endangered species to be seized by authorities when musicians have been entering or leaving the country when working. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]This has raised grave concerns for the American Federation of Musicians (AFM) and the American League of Orchestras who have been lobbying hard for an exemption for musicians. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Thanks to their efforts, the USFWS issued an amended order making it possible to travel with instruments made, sold or transferred before February 2014. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The key thing here is that while this exemption now exists you still need to be able to prove purchase, transfer details of the instrument and have supporting documentation. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]You can read the original order and the amendment here [[/size][/font][/color][url="http://fws.gov/policy/do210.html"]http://fws.gov/policy/do210.html[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]CITES has recommended the use of an ‘Instrument Passport’ which, when drawn up and approved, will identify when the instrument was bought, and should include accompanying purchase/transfer documentation and identifying photos of the instrument. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The MU has discussed this issue with International Federation of Musicians (FIM) and employers across Europe. A joint letter is being drawn up asking that clear concise information from CITES and the US Government be issued as to how musicians can obtain these 'passports'. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]We have also spoken to the AFM and they advise having both a permit from your home country and a permit for the country to which you are travelling. If you are travelling to the US for a single visit, a permit may be obtained here [[/size][/font][/color][url="http://www.fws.gov/international/permits/by-activity/musical-instruments.html"]http://www.fws.gov/i...nstruments.html[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The MU contacted the UK authorities over this issue. We have been advised that until such time as the internationally recognised ‘instrument passport’ is available, UK musicians can apply for a CITES Permit as an individual or a group here [[/size][/font][/color][url="http://www.defra.gov.uk/ahvla-en/category/forms/cites/"]http://www.defra.gov...ry/forms/cites/[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The form you require is FED0172. They have confirmed this form will be recognised by overseas authorities and provide you with the protection you require. However, we would advise that if you have any concerns you do contact them directly. They are best placed to answer any questions you may have. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The Union is working with other international musicians unions and employers on your behalf to try to make this process easier and more transparent for musicians. We will update this information as necessary. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]==================================================================[/size][/font][/color]

There is a difference in the tone of any note of the same pitch played in different positions on a bass and also guitar. It's not a problem it's just physics and as is said above some players use that knowledge to their advantage. I know I do. If you keep the same string gauge the B-string on a 34" scale bass will sound and feel noticeable different than on longer scale 35" scale as for the same gauge of string the 34" will feel slightly looser. On my basses anyway the EADG strings have a very similar feel when played and the B string feels different when plucked. When I had my first 5 string it came with .125 on the bottom and I changed it to .130 and it feels much better. The other thing is you learn to compensate for this difference with your playing when it comes to playing notes on the B-string so that eventually you get a good tonal balance.

I'm doing a gig with my NotStrictlyJazz quartet at the Jam House in Birmingham on 15th July 2014 http://www.thsh.co.uk/event/jazzlines-free-gigs-delano-mills-and-not-strictly-/ It's a mixture tracks including Stanley Clarke, Marcus Miller, Victor Bailey, Grover Washington Jr, Jeff Lorber. Guest vocalists are: Dennis Seaton(Musical Youth) and Hungarian singer Katalin Voros It's a free gig... well free to get in but we are getting paid. :-) Jazzyvee

How are you getting on with the slapping Roxy?

Mine was listed there for about a year before I bought it. It was on commission sale but didn't get sold. (The price was too high). I eventually it was removed from there and listed privately and a guy from the alembic forum who knew I was wanted it, found it and sent me the link. The rest is history. The filters do take a while to get used and with the series ii you have the cvq to deal with also. If you haven't done so already I can highly recommend the alembic forum as a great resource for all things alembic. These basses are not one trick ponies and whilst they sound great it can be a challenge to move confidently between sounds.. Here is a link to the series I & ii FAQ http://alembic.com/club/messages/16271/16308.html?1361485906 Have fun. Jazzyvee

Nice bass, that looks like one that was on sale at Station Music. My series I is also burl maple but has an Europa body style. Is it your first alembic?

[quote name='obbm' timestamp='1402382715' post='2472726'] Sad Happy. [/quote] Is that a perspex Ramp?

Most of the gigs I've done in the last couple of years where a back line has been provided have been Ashdown rigs of various types, whether that be big festivals or venues, and I can say that from my experience I have not enjoyed playing through any of them. All have given me a distorted/overdriven sound regardless of what bass I've used and I don't play loudly. The only time I get a reasonable sound is when I use my own pre-amp directly into the return socket of the head although many times that socket has not been working or it's the cabs that are trashed and causing the distortion. I think a lot of venues use them because they are cheaper than the traditional Ampeg rigs that used to be on the festival circuit, and if it's a rock band they are not looking for the same kind of clean tone that I want from playing Reggae so they don't usually have a problem with the cab.

I love the seemingly old fashioned idea of regular band rehearsals. One of my bands we gig a couple of times per month and so only rehearse if we have new material to learn, we have a dep or when there is a long time between gigs and we have a high profile gig. With my other band we gig about 3 or 4 times a year so rehearse only when we have gigs because the three other members of the quartet are full time pro players and are always busy. However when we meet up for rehearsals we really enjoy it and plan to rehearse regularly but somehow our diaries always seem out of sync. Generally I find that many musicians I talk to do not want to rehearse unless there is an impending gig. Whereas my preference would be to rehearse regularly regardless of the gigging situation so that the band gets amazingly tight as a unit.

I'm gonna try to get tickets for the Leeds Gig as I have a gig on 15th so thats out and although London would be a good place to go the uncertainty of finding a close parking space is a put off.

I still have a RCL10 Compressor Limiter that i used back in the days when I had a Tascam 244 Portastudio. Not used it for a while though I last used it in my guitar pedal board and it was great. Jazzyvee

Victor Bailey Jazz Bass. [url="http://www.victorbailey.com/gear.html"]http://www.victorbailey.com/gear.html[/url] http://www.edroman.com/guitars/fender/fender_artist/victor_bailey.html